Eric Clapton and his music

Mother’s Lament (Traditional Arrangement Cream)

Eric - harmony vocals; Jack – piano, harmony vocals, Ginger - harmony vocals.

The session now finished off with an old cockney folk song with all three sharing song rights. The denizens of the bar in the basement prompted this. Incongruous but it shows their humour, lack of pretension and probably lessened interpersonal tensions . Such novelty tracks became common place but soon wore thin.

Note: Song left/centre with echo in the right sounding like a drain pipe

The album was completed and logged into Atlantic's Tape Library on 15th May. The log's list another track "I Can't Forget", for which no tape exists. No one can shed any light, as Jack pithily says, "No, I don't remember." Most likely it was a just work up (one of Felix's tunes or a proto "Blue Condition"?) mistakenly logged or just an entry error (librarians do make mistakes). Jack's recollection is that "The Clearout" was rejected for "Mother's Lament" - whether it was actually recorded is unknown.

The sessions were so tight that there was very little surplus material. Time was critical and they were all technically so adept that songs were worked up and recorded quite quickly. Once the basics were laid down (bass, drums, basic guitar) they were rarely changed ('Dance' may have been an exception). Clapton probably redubbed his lead lines until they were to his satisfaction but, by soon-to-be standard techniques, it was minimal. There were no facilities to drop-in or replace notes or phrases - the whole guitar segment had to be replaced.

Mixing/Mastering may have involved some compression tricks, especially on the drums. There is panning but no phasing effects (I will accept correction on this) Most of it seems to have been done at the recording stage. The sound is more akin to Tom's jazz recordings in that it just captures Cream's real sound as they played.

Possible alternates may have existed but most likely they were rough rehearsals, breakdowns, tryouts etc. True alternates or unreleased songs were unlikely due to the studio skills of Felix and Tom and musical skills of Cream. Any way we will never know as all the master tapes were lost in the Atlantic Tape Archive fire in 1976. Unbelievably, but tragically true, these were in rented storage on the fourth floor of a wood–framed, family owned, department store. It was an incalculable loss of so much great music, not just Cream but such giants as Ray Charles, Aretha Franklin, John Coltrane*, Modern Jazz Quartet, Joe Turner etc. It also means that remastering from the original recording tapes is not possible. Digital remastering can only take place using the mixed down mono or stereo master.

Production
Track 1 - Drums 1

Track 2 Drums 2

Track 3 - Bass Guitar

Track 4 - Basic Guitar

This left 4 tracks for, depending on the song: Jacks Vocals (5), Eric's Vocals (6), Lead Guitar (7), Lead Guitar or other instruments (8). If it was a single lead vocal then that made another track available. There is also the possibility that the drums were completely mixed and compressed into a single channel but I feel the compression was done at mix-down where it is easier to set relative levels.

After listening at high volume with my new power amp, as well as verifying with high quality headphones, I do not hear any track mix downs with additional overlaid overdubs. The sound is very clean, except for slight compressor breathing effects on the cymbals, that is typical of Tom Dowd's Atlantic Studio recordings. They had enough channels allocated to do the job.

The biggest mixing problem seems to have been the drums which was solved by mixing the double kit into the right channel. With that they could finely control the compressor and balance the rest of the instruments against the hugely dynamic drums. The mono mix of "Tales of Brave Ulysses" has the drums high mainly because it uses maximum dynamic range - he bangs 'em very hard at times.

Mixing/Mastering may have involved some other compression tricks on the guitar. Mixing involved mainly channel allocation effects. There is panning but no phasing effects (I will accept correction on this). Most of the sound seems to have been done at the recording stage - post production was very limited with this technology. Felix probably did some equalisation tricks, but they are subtle and who really knows, let alone remembers? The sound is more akin to Tom's jazz recordings in that it just captures Cream's real sound as they played. Production was a major advance over Fresh Cream, as was the sound quality.

Considering that it was recorded in May 1967, it was quite advanced. Unfortunately the record mogul didn't like it and wanted blues, not the hogwash. Its release was to be delayed until December and in that time the sound of rock music recordings advanced rapidly. Disraeli Gears would have sounded revolutionary in mid-67, but it was not to be. It was their live performances that would ultimately help shape Rock Music.

_______________________________________________________________________________________________________________________
Farewell to the Cream - 1968

by Chris Welch: Melody Maker (7 December 1968)
A fantastic and highly emotional send-off for the Cream almost gave the
group second thoughts about breaking up after their brilliant final
performance at London's Albert Hall on Tuesday last week.
Said Eric Clapton after the show: "I was thrilled by the audience
reaction - it was just too much!"
Eric, Ginger Baker and Jack Bruce were on top form for two sell-out
shows, and the audience rose to give then a standing ovation, refusing
to leave their seats until three encores had been played.
Youngsters jumped on stage to shower Eric in confetti and fans yelled:
"Play your own choice!" as a cacophony of requests filled the air.
"They've all gone mad," muttered Ginger from behind his battery of
drums.
The group have worked hard and produced fine music for over two years,
and now is the time for them to branch out and do new things.
A happy and surprised Eric talked about the Cream's farewell and his
future this week.
"The show stunk - it positively stunk!" said Eric (and for reader Jim
Thug, of Leyton, who takes everything seriously, he was joking, of
course).
"We haven't played here for - well I don't know how long - over a year,
and I had no idea we were so popular. I was amazed we played to such
full houses. I didn't think anyone would remember us.
"Of course, it gave us second thoughts about breaking up, but it would
be unfair to change everybody's plans now.
"I've enjoyed playing very much. Those encores were a bit strange! I'd
like to have done a couple more numbers, but our equipment was giving
trouble before we finished the first time.
"It was really a fine evening for me, and I felt very excited. Before we
went on I was as nervous as I ever have been. I always remembered
English audiences as being rather cold, yet they were so great."
What's happening next?
"We've got an album to do - some of it live. We recorded three studio
tracks in London last week. We want to get it finished and out as soon
as we can.
"Also, I'm probably going to do a film in Hollywood."
Pause for gasp of surprise.
"Wot - acting?"
"No producing. It's an idea I've cooked up with some friends and I'm
putting the money behind it.

"I can't tell you the subject without destroying the point of the film.
It's like an Alfred Hitchcock thriller where you can't come in after the
start, or give away the ending. But I can tell you it will be in
Cinerama with eight track sound.
"I've also started writing songs and I want to start working on my own
album about Christmas.
"I want to work with American musicians because most of the English
musician I know are already in groups and seem settled.
"I saw John Mayall in America, and we jammed together. His guitarist
Micky Taylor, is very good, frightening. But it's a strange thing; John
seems to be going back. He's playing exactly as in the old days.
"I've worked with a couple of American musicians in New York, Chuck
Raney on bass and Herbie Lovelle on drums, who I'd like to bring here to
record.
But first I want to get into my house in the country and get some
solitude..."
Opening Tuesday night's concert were Yes, the highly impressive group
featuring nice harmonies, good lead vocals, a balanced sound and clever
arrangements. Their music was intelligent and tasteful.
They played a selection from West Side Story that went on a trifle too
long, but featured some fine drumming. Some of their stop-timing and use
of dynamics was quite electrifying.
John Peel must be Britain's only at once intelligent, funny informative
and popular compere and such a relief from all those dire idiots who
have made us cringe with embarrassment at most so-called "pop" shows.
He linked the acts with a kind of quite cheek and non-pushy confidence
that brought much laughter and applause. Actually he should learn a few
stock jokes and in a few years - the Royal Variety Show!
The Taste proved a personal disappointment although they were well
received, apart from someone laughing heartily during a particularly
passionate blues ditty. Perhaps they were nervous, but the lead
guitarist seemed to be playing a lot of dodgy chords and "Summertime"
did not convince. I'll never know why groups fall for this tune. The
Mark Leeman Five were playing it four years ago - and it was lousy then.

The Cream were so great it seemed more of a shame than ever they are
splitting. All the favourite tunes were there ... "White Room", "I'm So
Glad", "Sitting on Top of the World", "Crossroads" and "Toad".
Jack Bruce still ranks with Stevie Winwood as one of the few great
British group singers, and he attained a peculiar intensity to his
performance, while his bass playing was both driving and inventive.
Ginger, using no less than seven cymbals, and a selection of tom toms
that practically allow him to roll up and down the scale, played one of
the most fluid and splendidly together solos I've ever heard. At the
climax, Jon Hiseman, who was sitting next to Dick Heckstall-Smith,
leaned over to shout at me: "Nothing could beat that except the
Titanic!"
Ginger went straight ahead, without a pause for mental "brick walls", as
he calls them, without a single goof, without losing interest. And it
was great to hear him use such a lot of snare drum as well as the
rolling double-bass drums and tom toms.
"Play your own choice," yelled a fan during the storm of applause, and
after "Sunshine of Your Love", Eric treated us to "Steppin' Out".
"Thank you, Eric!" was the yell this time, and there was a warmth and
atmosphere that took one back to the old days of Zoot Money and Spencer
Davis type groups, although I couldn't remember a reception like it.
________________________________________________________________________________________

2SergeK:

Жду в чате

Wembley 1985

Wembley 1985 (2)

Wembley 1985 (3)

Lost In the Whisky...
Prince's Trust 1987

_1

FTC

Derek...

TOMMY опять переиздан на ДВД.

Итальянский Сахарок с участием Эрика и др. Говорят, что очень достойно. Прошу высказаться тех, кто видел.

Очень он там неплохо выглядит.

2Primal Scream:
Да, это редкий для последних лет, удачный сет Эрика.

Eric Clapton "Back Home" on New Album
Set for Release August 30th

BURBANK, CA -- (MARKET WIRE) -- 06/20/2005 -- "Back Home," Eric Clapton's first album of new original material in nearly five years, will be released on Reprise/Duck Records on August 30th.

Featuring twelve songs, five of which were penned by Clapton with creative collaborator Simon Climie, "Back Home" also includes "Love Comes To Everyone" by George Harrison, the Spinners' "Love Don't Love Nobody," a rendition of Stevie Wonder and Syreeta Wright's "I'm Going Left," and compositions by Vince Gill, Doyle Bramhall II and others. See below for a complete song listing and writing credits.

Produced by Eric Clapton and Simon Climie, who together also wrote the album's debut single "Revolution," "Back Home" additionally spotlights an all-star backing band, many of whose members have worked extensively with Clapton over the years. Included are drummer Steve Gadd, bassist Nathan East, guitarists Andy Fairweather Low and Doyle Bramhall II, and keyboardists Billy Preston and Simon Climie.

Among the special guests appearing on "Back Home" are Steve Winwood (synthesizer), John Mayer (guitar), Robert Randolph (dobro), Chris Stainton (Fender Rhodes), Stephen Marley (percussion), Abraham Laboriel, Jr. (drums), Pino Paladino (bass) and Toby Baker (keyboards). The album also highlights string arrangements by Nick Ingman and performances by the Kick Horns.

"I wanted to make a studio album without quite knowing what it was going to be," remarks Clapton on the creative impetus behind "Back Home." Working closely with Climie, Clapton began recording over a year ago, working around his touring schedule and family commitments. "We kind of resigned ourselves to the fact that it was going to take a long time," the multi Grammy® Award-winning artist continues, "but when we got stuck or if it wasn't moving fast enough we'd stop and do a Robert Johnson song. That would clear the air and we'd go back and carry on for the new album. As a result, we ended up with a complete Robert Johnson album first, which was released last year as 'Me And Mr. Johnson.'"

It was through the writing and recording process, Clapton explains, that the theme of "Back Home" emerged. "One of the earliest statements I made about myself," he reveals, "was back in the late '80s, with 'Journeyman.' This album completes that cycle in terms of talking about my whole journey as an itinerant musician and where I find myself now, starting a new family. That's why I chose the title. It's about coming home and staying home. Even though," he adds with a laugh, "I'll be out on the road again next year, playing this music."

"Back Home" song selections and writing credits are as follows:

1) "So Tired" (Eric Clapton, Simon Climie)
2) "Say What You Will" (Eric Clapton, Simon Climie)
3) "I'm Going Left" (Stevie Wonder, Syreeta Wright)
4) "Love Don't Love Nobody" (Joseph Jefferson, Charles Simmons)
5) "Revolution" (Eric Clapton, Simon Climie)
6) "Lost And Found" (Doyle Bramhall II, Eric Clapton, Jeremy Stacey)
7) "Heaven" (Doyle Bramhall II, Suzanna Melvoin, Mike Elizondo)
8) "Love Comes To Everyone" (George Harrison)
9) "One Day" (Vince Gill, Beverley Darnell)
10) "One Track Mind" (Eric Clapton, Simon Climie)
11) "Run Home To Me" (Eric Clapton, Simon Climie)
12) "Back Home" (Eric Clapton)

http://www.marketwire.com/mw/release_html_b1?release_id=89040

Clapton Gets A Lift From Winwood, Mayer
By Barry A. Jeckell, N.Y.

For "Back Home," his first album of new original material since 2001's "Reptile," Eric Clapton tapped the talents of longtime collaborator Simon Climie, as well as such guests as Steve Winwood, John Mayer, Stephen Marley and Robert Randolph. Due Aug. 30 via Reprise/Duck Records, the disc boast 12 tracks that were recorded at the same time as the Robert Johnson covers that made up last year's "Me & Mr. Johnson."

"I wanted to make a studio album without quite knowing what it was going to be," Clapton says. "We kind of resigned ourselves to the fact that it was going to take a long time, but when we got stuck or if it wasn't moving fast enough we'd stop and do a Robert Johnson song. That would clear the air and we'd go back and carry on for the new album. As a result, we ended up with a complete Robert Johnson album first."

"Me & Mr. Johnson" reached No. 1 on Billboard's Top Blues Albums chart and No. 6 on The Billboard 200 and has sold 612,000 copies in the United States, according to Nielsen SoundScan. "Reptile" debuted at No. 5 on The Billboard 200 and has sold 560,000.

Clapton solely wrote only the new album's title track, while he and Climie co-authored five of the songs on "Back Home," including first single "Revolution."

Also included are versions of George Harrison's "Love Comes to Everyone," the Spinners' "Love Don't Love Nobody" and a rendition of the Stevie Wonder/Syreeta Wright song "I'm Going Left," as well as two songs co-written by guitarist Doyle Bramhall II and one by Vince Gill ("One Day").

In addition to keyboardist Climie, who co-produced the album with Clapton, the artist tapped such familiar players drummer Steve Gadd, bassists Nathan East and Pino Palladino, guitarists Bramhall and Andy Fairweather Low and keyboardists Billy Preston.

A contemporary of Clapton's in the late-1960s U.K. music scene and bandmate in the short-lived "supergroup" Blind Faith, Winwood contributes synthesizer to the album. Also heard are guitarist Mayer, Randolph on dobro, Chris Stainton (Spooky Tooth) playing Fender Rhodes, percussion from Marley and Abe Laboriel Jr. (Fiction Plane, Paul McCartney) and keyboardist Toby Baker (B.B. King, McDonald).

"One of the earliest statements I made about myself was back in the late '80s, with 'Journeyman,'" Clapton explains. "This album completes that cycle in terms of talking about my whole journey as an itinerant musician and where I find myself now, starting a new family. That's why I chose the title. It's about coming home and staying home. Even though," he adds, "I'll be out on the road again next year, playing this music."

Clapton, who last performed June 11 at a Surrey, England, concert to benefit HASTE (Heart and Stroke Trust Endeavour), at deadline has no confirmed tour dates. In May, he participated in a string of Cream reunion shows at London's Royal Albert Hall with Jack Bruce and Ginger Baker.

http://www.billboard.com/bb/daily/article_display.jsp?vnu_content_id=1000964879

Eric Clapton Covers George Harrison

by Paul Cashmere

21 June 2005

Eric Clapton has recorded a cover of George Harrison's 'Love Comes To Everyone' for his forthcoming album 'Back Home'.

'Back Home' will be the first album of original Clapton material since 'Reptile' (2001).

Harrison recorded the track for his 1979 self-titled album.

Clapton first recorded a Harrison song in 1968 when Cream recorded George's 'Badge'.

The two were lifelong friends. Clapton even went on to marry George's first wife Patti.

Clapton performed at the Concert for George, the concert which marked the one year anniversary of Harrison's death.

2SergeK:

>Eric Clapton Covers George Harrison
>by Paul Cashmere
>21 June 2005
>Eric Clapton has recorded a cover of George Harrison's
>'Love Comes To Everyone' for his forthcoming album
>'Back Home'.
>'Back Home' will be the first album of original
>Clapton material since 'Reptile' (2001).
>Harrison recorded the track for his 1979 self-titled album.
>Clapton first recorded a Harrison song in 1968
>when Cream recorded George's 'Badge'.
>The two were lifelong friends. Clapton even went
>on to marry George's first wife Patti.
>Clapton performed at the Concert for George,
>the concert which marked the one year anniversary
>of Harrison's death.

Ух ты, как клёво, очень интересно послушать Love Comes To Everyone в исполнении Клептона.

Джордж и Эрик (со спины) в Эбби Роуд Студии.

"You looking at my bird?"-"Yes"